Tuesday, June 24, 2014

In the Summer of 1964 Marvel produced it's first compilation of super-hero reprints, reviving the name of a long running title:

Originally beginning as Marvel Comics, Martin Goodman's first foray into comic books in 1939, the title changed to Marvel Mystery Comics with its second issue, featuring the original Human Torch, Sub-Mariner, the Angel, Vision and other characters until issue # 92, June 1949. In the following issue Marvel Mystery Comics became Marvel Tales, reflecting the change in content to horror/mystery and running until issue # 157, August 1957. Fred Kida cover art to the final issue, Image from the Grand Comic Book Database.

Seven years later, either Editor Stan Lee or Publisher Martin Goodman decided to revive the name once again, using the same logo design, and returning the title to its superhero roots. Just three years earlier Fantastic Four # 1 proved a success, and costumed characters began taking over the monster-anthology titles. By 1964 the new heroes were an essential part of Marvel's line, with only their western and teen-romance strips remaining. Marvel Tales was an easy way to introduce many of their top features to a growing audience. Jack Kirby pencils; Sol Brodsky inks, Sam Rosen letters and Stan Goldberg colors. Spider-Man figure by Steve Ditko, taken from Amazing-Spider-Man Annual 1, page 14; panel 2. I wonder if Kirby drew a Spidey figure and it was replaced by a Ditko image?

How many kids who opened this comic related to Peter Parker, standing alone as his peers mocked him? Steve Ditko's image speaks volumes, and an unusual adventure series begins. Stan Lee co-plot and dialogue; Artie Simek letters, Stan Goldberg colors.

Although Peter Parker gains special powers he is overwhelmed by tragedy and guilt. Each story ends with a new editorial note, likely penned by Stan Lee. At the time of this issues publication Lee and Ditko had produced 16 issues of Amazing Spider-Man, with the first Annual appearing on the stands. Spider-Man was clearly a successful product and made a strong impression on its audience.

Lee and Kirby introduce the Hulk, giving his best Boris Karloff/FRankenstein Monster impression. Although Lee could have chosen to re-color the Hulk in his recognizable green hue, he instead added a new blurb explaining that he was originally colored gray. Paul Reinman inks, Ray Holloway letters? , Stan Goldberg colors.

Kirby's cinematic eye is evident in this three panel shot, as The Hulk fades into the night with Rick Jones in pursuit. While its true that the origins are "uncut" as the cover copy states, the stories themselves are truncated. The bottom blurb has Lee promoting the Hulk's revival as a new feature in Tales to Astonish, which debuted the following month.

Although Sgt. Fury was a war title it followed the frenetic pacing of the superheroes, as this splash page clearly illustrates. Despite the blurb, the story was not "exactly as it appeared in Sgt. Fury # 1", since only six pages were reprinted. It would take seventeen years before Marvel finally published a complete reprint of the first issue, closing the circle by appearing in the last issue of Sgt. Fury, which, after years of reprints ended its long run with # 167, Dec 1981. Lee and Kirby story/art, Dick Ayers inks, Artie Simek lettering, Stan G. colors.

The priceless image of Dum Dum Dugan calmly covering his ears and parachuting to earth as a plane explodes behind him illustrates the often comical aspects of Sgt. Fury.

A growing fan base was apparent to Stan Lee from the many fanzines and letters he was receiving. With credits that included artists, inkers and letterers on every story, Lee often chatted up staffers Stan Goldberg, Flo Steinberg, Sol Brodsky and even publisher Martin Goodman in the letters section. Here Lee presented photos of most of Marvel's then current "bullpen", although the majority worked at home as freelancers. I wonder if Stan made a Freudian slip or deliberately wrote "First, Let's polish off the Big Brass.."

Once again, Stan decided to retain the original coloring of Iron-Man's armor. Don Heck introduces Iron-Man to the world, plot by Stan Lee, script by Larry Lieber, lettering by Artie Simek, coloring by Stan Goldberg.

Tony Stark begins his career as the man of steel (or is that phrase already taken?)

The four page sequence that introduced Iron-Man's sleek new costume, designed by Steve Ditko, is reprinted. While it's noted that the armor continued to be modified, the basic design has remained consistent for decades. Stan Lee script/co-plot, Dick Ayers inks, Sam Rosen letters, Stan Goldberg colors.

Stan kept the Thor spelling error in the last panel and pointed it out. What many don't know is that a page of original art exists where the copy in the last panel is completely different.

Apparently the idea to use Thor as a continuing feature was decided at the last minute. Sales from other super hero features must have given Goodman faith that Thor would sell. And if that is the case, he was certainly proven correct.

Marvel Tales Annual # 1 ended with a house ad promoting the heroes in their respective titles, reusing art from the cover. Marvel Tales returned the following year, including the origins that were skipped here, namely Avengers # 1, X-Men # 1 and Dr. Strange's origin from Strange Tales # 115. (Daredevil # 1 would be reprinted the following year in a one-shot title, Marvel Super-Heroes, which may be the subject of a future post). Also included in that issue was a Hulk story from his first series and a delightful Lee-Ditko fantasy thriller from Amazing Adult Fantasy. With the third issue Marvel Tales was revived as an ongoing, bi-monthly title, retaining its 25 cent format and reprinting Spider-Man, the Human Torch, Ant-Man and Thor. It later switched to a standard format and continued to sequentially reprint Spider-Man for many years. While these stories were only a few years old. many fans missed them the first time around, and could only hope to purchase the originals in a used book store or second hand shop. Marvel Tales Annual # 1 encapsulates the charm, wonder and excitement that was - and remains - idiomatic of the creative juices that flowed in the early 1960's.

At this time of year my thoughts often drift back to a long ago early summer day and a classroom in Brooklyn, New York. As I sat in class I
stared longingly at the outside world through an expansive open window - a perfect
day in my mind’s eye. The semester was dwindling down, final exams were ending, and
July and August awaited, when the days were seemingly endless. It meant exploring
parks, back yards and city streets with friends; baseball, Mr. Softee, stoop
ball, collecting gum cards, flying wooden air plans and sometimes just staring at
the clouds above. Trips to local candy stores offered many surprises, and June,
July and August meant an array of 25 cent Annuals featuring Marvel’s top titles:
Sgt. Fury, Avengers, Spider-Man, Fantastic
Four, Hulk, Thor. The Bullpen Bulletins page and checklist told us what Annuals
to expect each month during the summer, but we didn't know what week they would arrive, so anticipation was high with each trip to the candy store.

Although I was only three years old when Fantastic Four
Annual # 1 was published, and don’t recall reading the issue until many years
later, I thought it would be interesting to point out a few items from the second published
Marvel Super-Hero Annual (Strange Tales Annual # 2, which featured the Human Torch
and Spider-Man, preceded it by a month) circa early July of 1963.

The corner symbol, which was introduced on most Marvel comics six months earlier (the idea originated from Steve Ditko), was also used on the premiere Fantastic Four Annual, featuring the same recognizable images of the FF that adorned the monthly comic book. Jack Kirby pencils; Jack Kirby inks ?

Who else to feature in the first FF Annual than their primary antagonist, the Sub-Mariner? Stan Lee and Jack Kirby upped their game considerably, crafting a very special 37 page extravaganza as Namor wages war against the surface world. Lady Dorma returns from the 1940s Timely era (originally Namor's cousin; the character was reinvented to become a love interest and rival to Sue Storm for Sub-Mariner's affections), Warlord Krang is introduced, lusting for both the throne and Lady Dorma and Namor's origin is retold and expanded, with his unnamed homeland now established as Atlantis. Stan Lee and Jack Kirby are supported by Dick Ayers, whose inking added weight and personality, Artie Simek's stylish lettering and Stan Goldberg's effective coloring.

Looking closely at page 37; panel 4, the top portion of Sub-Mariner was clearly redrawn, likely by production man/artist Sol Brodsky. Kirby's original drawing must have had Namor knocking a few citizens around a little too forcefully for the Comics Code, and the sloppy movement lines as well as the figures of some of the bystanders, including the woman in the background are touched up. The lettering on "threatening" looks like it was altered, meaning another word may have been replaced.

FF Annual # 1 included many special features, such as an 11 page "Gallery of the Fantastic Four's Most Famous Foes!" Every original foe up to FF # 15 appeared, with sensational Kirby artwork and background info and copy by Stan Lee. Sol Brodsky inked most of the pin-ups, ("The Mad Thinker" is clearly inked by Dick Ayers). Ray Holloway provided the lettering for this one.

Did I say that Sol Brodsky inked most of the pin-ups? Looking at them again I'm not entirely sure that Kirby didn't ink a few himself. Brodsky had a slick line that was close to Kirby's own style but had individual enough ticks to be distinguishable most of the time. This image of the Puppet Master has what I've termed a "sparse" look that is indicative of Kirby's inking* It's possible "Kurrgo" and "The Hulk" may also be inked by Kirby, but I'm not certain.

Other special features contained in Annual 1 include a two page "Questions and Answers about the Fantastic Four" which reveal heretofore unknown facts about the powers and personal lives of the FF, and a schematic of the Baxter Building.

"The Fabulous Fantastic Four Meet Spider-Man!" is an expanded retelling of the FF's first encounter with Spidey from his first issue. Inking Jack Kirby's pencils, Steve Ditko kept Spider-Man's look consistent, fixing errors in costuming that often occurred when Kirby drew the character. Ditko probably added the spider on S-M's chest, fixed the web-lines on his costume and included underarm webbing. Ray Holloway letters.

The Annual closed out with an abbreviated reprint of the first 12 pages of Fantastic Four # 1, which was then only two years old. A number of alterations were made to keep the look of the characters consistent with their present-day versions. The Thing and Reed were touched up slightly, but the biggest change was in the depiction of the Torch.

The Human Torch was originally drawn as a featureless blob of flame, as seen in Fantastic Four # 1, November 1961, from the reprint in Marvel Masterworks Vol 2, 1987. Stan Lee script, Jack Kirby pencils, George Klein inks, Artie Simek letters.

When the story was reprinted in FF Annual 1, Stan Lee decided to have the Torch redrawn in order to maintain consistency with the image that was familiar to readers since issue # 3. The alterations appear to have been administered by Sol Brodsky.

This was the first of many exciting annuals. In future years special events in the FF alone included the origin of Dr. Doom, the wedding of Reed and Sue, the re-introduction of the Original Human Torch; the announcement of Sue's pregnancy (although, like early television, the word was deemed unsuitable; it was simply stated that Sue "is going to have a baby" ) and the birth of Sue and Reed's child the following year. While page lengths and special features changed from year to year depending on time constraints (new stories became much shorter, with reprints filling out the 1965-1966 specials) from 1963-1968 Marvel's summer Annuals (or King-Size Specials as they were sometimes called) showcased the work of some of their top talents, including Lee, Kirby, Steve Ditko, Roy Thomas, Don Heck, Gary Friedrich, Dick Ayers, John Buscema, Gene Colan, Larry Lieber, Al Hartley, Stan Goldberg and Marie Severin.

By 1969 the Annuals/Specials turned almost all reprint and even disappeared from the schedule for a few years. When they returned in the mid-1970's many of the stories lacked the imagination, excitement or superior talent of earlier days. I'll always be grateful, though, for those magical moments when I could walk into a candy store and discover Amazing Spider-Man Annual # 5 or FF Annual # 6 on sale - a clear sign that those precious days of summer had not yet come to a close.

Thursday, June 5, 2014

For many the name Carl Hubbell brings to mind the famous New York Giants pitcher of the 1930's and 1940's; for those of us who specialize in the study of comic books, Carl Hubbell's name may also be familiar. As a child of the 1960's, I knew his name primarily as an inker over Dick Ayers pencils on Sgt. Fury. It wasn't until many years later that I discovered Hubbell had been a writer, artist and inker dating back to the 1940's, working for outfits including MLJ (Archie, "Steel Sterling", "Scarlet Avenger" and "Sgt. Boyle' - whose name clearly lacked a hard-edged grit when compared to four-color compatriots Sgt. ROCK, Sgt. FURY, Capt. STORM or Capt. SAVAGE, to name a few); St. John, working for Norman Mauer and Joe Kubert on the humor title Whack; and a prolific run at Lev Gleason on Crime Does Not Pay and features "Sniffer and Iron Jaw" and "the Little Wise Guys" in Boy Comics andthe original Daredevil. Hubbell also worked on syndicated strips, including Merrie Chase in 1949-1950. Not much has been written about Hubbell, although in searching for biographical info I turned up an excellent, informative piece by Allan Holtz on his Strippers Guide blog (scroll down to the January 1st entry):

I learned quite a bit about Hubbell on Holtz's blog, not only his accomplishments as an artist, but I discovered he was also a musician and occasional stage actor (there is a photo of Hubbell on stage from a newspaper clipping, although Roy Thomas thinks the person pictured looks a little too young to be Hubbell. Roy mentioned he had a picture or two of Hubbell in an issue of Alter Ego. Does anyone out there recall which issue?). Holtz's bio also gives the date of Hubbell's death as January 28, 1992. There is always much to learn about the unsung and often forgotten creators of the past, and this time out I'm going to take a look at Hubbell's brief turn at Marvel in 1965-66.

Hubbell's association with Marvel actually dates back to the 1950's when it was known as Atlas. From 1952-1954 Hubbell drew various genre stories for Stan Lee in Strange Tales, Suspense, Journey into Mystery, Journey into Unknown Worlds, Spellbound and Crazy, and did the feature "Bob Brant and his Troubleshooters", starring a team of teenagers similar to his concurrent "Little Wise Guys". the feature ran in three issues of Man Comics, #'s 26-28, before the title was cancelled.

A distinctive splash page from "Condemned!", Writer unknown, Carl Hubbell art (signed "C.H." in panel one near the con's left knee). Journey into Mystery # 5, February 1953.

Carl Hubbell cover art to the short lived Bob Brant and the Trouble-Shooters, labeled "America's Most Exciting Kids". Apparently they weren't exciting enough to continue publication! Man Comics # 26, May 1953. Image from the Grand Comic Book Database. From 1957-1964 there are no known comic book credits for Hubbell. Did he go into advertising? Was he employed as a musician or stage actor? Whatever the case, Hubbell eventually turned up at Marvel, assisting production man Sol Brodsky. According to Roy Thomas Hubbell may not have been on staff but apparently was called into the office a few times a week to freelance, starting in late 1964 or early 1965. The earliest sign of possible Hubbell art I've discovered is in May, 1965 dated Marvel comics.

MMMS House Ad from Journey into Mystery # 116, May 1965. Carl Hubbell Thor figure? Hubbell often made art corrections to interior stories, much like Kirby did before him and John Romita, Marie Severin, Herb Trimpe and Bill Everett, did afterward, as can be seen in May, 1965 dated titles.

In addition to the above house ad, Hubbell apparently contributed to corrections on the interior Thor story in Journey into Mystery # 116. To my eye it appears that the figure of the Executioner and, to a lesser degree the Enchantress, was altered throughout the issue. Jack Kirby, who was known to have forgotten details of characters costumes or appearance, may have drawn the Executioners face and costume incorrectly. The Daredevil cameo on page 13 was also likely touched up by Hubbell, perhaps because Kirby drew DD in the original yellow/red costume. The remainder of the page is by Jack Kirby and Vince Colletta.

I've always found Avengers #16 (May 1965) to be particularly interesting, art-wise. Jack Kirby is credited as providing layouts, with Dick Ayers doing the finished art, but some pages/panels are clearly Kirby pencils and Ayers inks. That, however, is a blog post for another day. Mixed in throughout are corrections that I believe are by Carl Hubbell, changing figures at the request of Stan Lee. The Captain America figure on page 5, panel 2, looks like it was redrawn.

On page 10, panel 3, the X-Men, and perhaps the Quicksilver figure, appear to be touched-up by Hubbell.

On page 17, panel 3 the figures of Giant-Man and Captain America are altered.

Page 20, panel 2 has a clearly redrawn Giant-Man face. The characters figure. helmet and face were touched up often throughout the issue, likely because the helmet was a new addition, which debuted only two months earlier in Tales to Astonish # 65, and Kirby and/or Ayers either forgot to draw the new helmet or did it in a consistent manner. They had a lot of characters and costumes to keep track of, so give them some slack! There are a few other pages/panels that may have been touched up, including the Giant-Man figure on the splash page, and the Melter, who looks a little odd on pages 2-4, but I wanted to concentrate on the drawings I felt "certain" were tampered with.

The MMMS ad featuring Cap in Avengers # 16 may also be the work of Mr. Hubbell.

It looks like Carl Hubbell's hand was involved in Sgt. Fury # 18, May 1965. Page 4, panels 2 and 3 feature Fury's nemesis, "Bull" McGiveney. I'm very familiar with the work of Chic Stone, who inked Ayers pencils in this issue, and that face in not inked by Stone. Hubbell may have completely redrawn McGiveney's face to make him look more ape-like.

Jack Kirby penciled the majority of Sgt. Fury # 18's final page (with the possible exception of the last panel), replacing Dick Ayers' original page. Stan Lee wanted a stronger emotional punch, and Kirby delivered - as seen in the middle tier three panel sequence. Fury's shock and devastation over the death of Pamela Hawley captures a moment of tragedy. Hubbell may have inked this page, although the last panel appears to have been retained from Ayers original, with inking by Chic Stone.

The following month's cover includes possible inks by Hubbell over Kirby pencils. I'm not entirely certain Hubbell is the inker, though; the broad brush strokes are similar to Kirby's own inking style, but that might just be due to Hubbell closely following Kirby's pencils. Sgt. Fury # 19, June, 1965.

After looking this page over recently I noticed that the inking on page 4 was NOT that of Frank Giacoia, who inked the issue, and certainly not Wally Wood, who inked the Daredevil/Matt Murdock figures throughout the story. It occurred to me that since this page had a photo background it may have needed added production work and looking closely, I suspect the inking of the Kirby figures is none other than Carl Hubbell, who would have been a likely subject to ink the page since he assisted in the office. Fantastic Four # 39, June 1965.

Here is an example of a complete panel being redrawn. My guess is that Jack Kirby drew Don Blake mistakenly striking the cane with his hand instead of tied behind his back, as the previous panel illustrated; either that or Stan Lee didn't think Jack's panel looked dramatic enough and had Hubbell redraw it . Journey into Mystery # 117, June 1965, page 13, panel 2.

Hawkeye is featured in the MMMS ad from Avengers # 17, June 1965. Hubbell art?

MMMS House ad, Carl Hubbell Rawhide Kid? RK # 46, June 1965.

Hubbell is the likely suspect for this MMMS house ad featuring J. Jonah Jameson, from Amazing Spider-Man # 26, July 1965. Along with Carl Hubbell, Marie Severin also drew several house ads and filler artwork in this period. While both have a similar cartoony style, Marie's art is more distinctive.

The cover to Tales of Suspense # 67, July 1965, penciled by (who else?) Jack Kirby. The inking has several earmarks that make me suspect Hubbell was involved. The slashing lines on Iron-Man's armor and Cap's costume follows Kirby's line but has a sharper feel. Like the Sgt. Fury example above, Hubbell may have closely duplicated Kirby's pencils, although his inking is cruder than other candidates such as Sol Brodsky.

Kid Colt Outlaw # 123, July 1965. Jack Kirby pencils. I'm "convinced" that Hubbell inked this Kid Colt cover. The use of "hay" on shadows, including the man running along the right side; the folds in people's clothes and sharp lines on the ground link this with Hubbell.

Hubbell also inked Dick Ayers on the interior story in Two-Gun Kid # 77, September 1965. A year before the Lee-Kirby Black Panther appeared, a costumed criminal called "The Panther" fought against the Two-Gun Kid.

Carl Hubbell adds a nice sense of detail to a Sol Brodsky written and drawn genre story in Rawhide Kid # 48, October 1965. Hubbell's inks have a Chris Rule/Marie Severin-esque appearance.

Carl Hubbell was assigned the inking over Larry Lieber's Rawhide Kid from issues #'s 49-53. Above is the splash page to RK # 49, December 1965.

This is an example where the printed credits don't tell the entire story. The splash page has Jack Kirby listed on layouts and George Tuska on finished art. It's clear, though, that Wally Wood inked the first four pages, followed perhaps, by Tuska inking on pages 5-7. Pages 8-10 look like the work of Carl Hubbell;the figure of Cap on page 8, panel 5 may be all Hubbell. Note also the chunky ink line on Cap's legs on page 10; panel 1. It's likely that Tuska was originally scheduled to ink the story himself (credits were lettered before the comic was inked) but became too busy to complete the job. Tales of Suspense # 72, December 1965.

Carl Hubbell inked three issues of Sgt. Fury; Issue #'s 21, 23 and 26. This was the latter and final inked issue, with Dum Dum Dugan taking center stage, cover-dated January, 1966. As a freelancer Carl Hubbell was required to redraw Steve Ditko's figure of the Looter on page 13; panel 5 of Amazing Spider-Man #36, May 1966. I always had a feeling something was odd about the Spidey figure; the posture looked right but the inking was not at all like Ditko's, particularly the inking on the legs. At at convention some years ago I spoke to Roy Thomas about Ditko, who explained that it was Carl Hubbell who altered the drawing, as detailed in Alter Ego #50, July 2005:"..the silhouette (in layouts) of the villainous Looter looked virtually identical to Spidey's, since both wore form-fitting costumes. Accordingly, when Stan scripted the final panel on pg. 13, he had to decide: did Steve mean that to be Spidey on the ledge, hunting for the fled Looter - or was it the Looter himself, hiding thereon? With no clarifying note from Steve, Stan wrote the figure as Spider-Man, and Artie Simek lettered it. When the story came back, however, Steve had inked the figure as the Looter - apparently the character he'd intended it to be.""At this point, of course, either the balloons or the figure had to be totally changed. Thus, Roy recalls lingering at the Marvel offices well after 5:00 pm, one nigh-Christmas day in 1965 and chatting about Charlie Biro with veteran artist Carl Hubbell (then inking Rawhide Kid) while the latter painstakingly transformed Looter into Wall-Crawler in that panel."

By early 1966 Hubbell would be gone from Marvel, with John Romita ostensibly taking over his duties. Hubbell moved on to pencil and ink stories for editor Carl Burgos, creator of the original Human Torch, for the short-lived MF Enterprises. Burgos revived the name Captain Marvel (who was in no way related to the famous Fawcett hero) for a four issue run. In this period Hubbell also worked for Charlton on various genre stories, but his comic book credits end by 1969. Nothing seems to be know about his 22 years spent outside of comics; apparently he was never interviewed, which is unfortunate since he was a part of comics early days and surely had interesting stories to tell. In email correspondence Roy Thomas kindly shared his thoughts on Hubbell for this post:

"I recall our walking together past some small church in Manhattan, though I don't recall where it was. We were just having a pleasant conversation, possibly at least mostly about his previous work, since I was aware of it in general, including his "Sniffer and Iron Jaw" feature and some of his work for Kubert and Maurer at St. John. But I recall nothing else, alas. Work kinda dried up for him at Marvel as the Westerns failed, I guess... not sure why he was never tried on other stuff. If he'd come back in a few years later, I'm sure I'd have tried him out on some horror work, as penciler or inker...but I don't believe our paths ever crossed again. Too bad. I just remember him as a gentle, soft-spoken guy.."

Carl Hubbell is just one of many half-forgotten figures who produced professional work and sold thousands of comic books for several decades. While his output for Marvel may be a small part of his oeuvre, it's nevertheless fascinating to study his involvement in the companies fledgling period of growth in the 1960s.

About Me

For the 75 Years of Marvel book by Taschen I wrote captions, biographies and provided research for the 1960's and early 1970's era. My articles and essays have appeared in Alter Ego, Jack Kirby Collector, Ditkomania, Comic Book Artist, Comic Book Marketplace, Jack Kirby Quarterly and Marvel's Omnibus and Masterworks collections. I study artist styles and have indexed thousands of entries for the invaluable Grand Comic Book Database http://www.comics.org/